best transcoding options?

Now I can edit and play clips 90% seemless in 4k on the timeline and edit real time in 4k, but sometimes it slows down a bit.

My question is should I transcode all of these clips in LB and edit smooth as possible, and re transcode the master sequence in HQ once all my grading is done? Or just transcode everyting in HQ and lose loads of space? Since I am only using a few minutes here and there from the larger files it's kinda pointless to transcode a 27 minute clip when I am only using maybe 2 minutes tops.

Will I lose quality from going from LB originally and re transcoding to HQ on the master esport?

I'm in UHD and I hate losing quality. Let me know what the convienent way is - I hate editing in Proxy modes.

Re: best transcoding options?

What is it you hate about working in Proxy modes? If it's just the quality of the transcoded clips, then (assuming you have the drive space) transcode to a quality you're happy with.

Without knowing what your final delivery specs are, it's hard to give a definitive answer, but if you're (say) delivering to YouTube at 1080p, then you only need to transcode to an Avid codec of comparable size and quality. If you need to get back to the original 4K rushes - say for resizing shots or a grade - the method that's often used is to link the sequence back to the original footage. In fact, if you're grading in something like Davinci Resolve, the Colourist can usually link back to the original rushes from an AAF of your timeline.

brett:

Will I lose quality from going from LB originally and re transcoding to HQ on the master export?

The way this is worded makes me think your trying to uprez the LB material to HQ. Of course, this won't give any better quality - just a larger file! The way this is usually done in MC is to link back to the original 4K rushes and then transcode to the codec/quality you require.

Re: best transcoding options?

I’ve read before that transcoding real long clips in LB works fine... and then you can transcode the LB files that are still linked to 4k back to HQ... justneasisrr on the storage vs transcoding right away in HQ.

Delivery is external drive and Vimeo/fb in 4k.

i have three cameras and each camera had two clips of 27 minutes... since I’m just making 7-10 minute wedding films I only use a few minutes per camera... and don’t have 4TB of space free for HQ transcoding.

is there a major difference between SQ AND HQ? I’m only on 420 8 bit but I’ve read a million different methods on there’s a huge difference and no differenxs.

proxies have never made sense really... it looks awful and I can’t evee get the clips to delink since there’s about 3-500 different clips chopped up from a few hours of longer clips.

Re: best transcoding options?

4. Transcode the sequence keeping source framerate (this creates new clips and subclips and I usually setup transcode to keep at least 2 second handles - maybe more - helps with editing later)

5. In a new sequence, I edit using these transcoded clips, do my audio and titling, etc.

6. Clear all my selections in any open bins and then select only the original linked camera media and my edited sequence from step 5. Select 'Relink' with the option to use selected media and create a new sequence.

7. Now I have all my edits from step 5 but linked to my original camera media

8. Now you can do a couple of different steps at this point but I usually mixdown the video and then mixdown the audio and place both in yet another sequence which I can then use to export as a QT Reference file for encoding in Squeeze or TmpGENC.

You can certainly use a variation on this theme but the benefit of creating subclips in step 2 is that you then only transcode a small subset of your media for final editing...